page_title: Cult film
section_title: Subcultural appeal and fandom
hierarchical_section_title: Cult film / Subcultural appeal and fandom
caption_attribution_description: Publicity photo of American entertainer, Judy Garland as Dorothy Gale promoting the Sunday March 20, 1977 CBS television broadcast of the 1939 MGM feature film The Wizard of Oz.
context_page_description: A cult film or cult movie, also commonly referred to as a cult classic, is a film that has acquired a cult following. Cult films are known for their dedicated, passionate fanbase which forms an elaborate subculture that engage in repeated viewings, quoting dialogue, and audience participation. Inclusive definitions allow for major studio productions, especially box office bombs, while exclusive definitions focus more on obscure, transgressive films shunned by the mainstream. The difficulty in defining the term and subjectivity of what qualifies as a cult film mirror classificatory disputes about art. The term cult film itself was first used in the 1970s to describe the culture that surrounded underground films and midnight movies, though cult was in common use in film analysis for decades prior to that.
  Cult films trace their origin back to controversial and suppressed films kept alive by dedicated fans. In some cases, reclaimed or rediscovered films have acquired cult followings decades after their original release, occasionally for their camp value.
context_section_description: Cult films can be used to help define or create groups as a form of subcultural capital; knowledge of cult films proves that one is "authentic" or "non-mainstream".  They can be used to provoke an outraged response from the mainstream, which further defines the subculture, as only members could possibly tolerate such deviant entertainment.  More accessible films have less subcultural capital; among extremists, banned films will have the most.  By referencing cult films, media can identify desired demographics, strengthen bonds with specific subcultures, and stand out among those who understand the intertextuality.  Popular films from previous eras may be reclaimed by genre fans long after they have been forgotten by the original audiences.  This can be done for authenticity, such as horror fans who seek out now-obscure titles from the 1950s instead of the modern, well-known remakes.  Authenticity may also drive fans to deny genre categorization to films perceived as too mainstream or accessible.  Authenticity in performance and expertise can drive fan acclaim.  Authenticity can also drive fans to decry the mainstream in the form of hostile critics and censors.  Especially when promoted by enthusiastic and knowledgeable programmers, choice of venue can be an important part of expressing individuality.  Besides creating new communities, cult films can link formerly disparate groups, such as fans and critics.  As these groups intermix, they can influence each other, though this may be resisted by older fans, unfamiliar with these new references.  In extreme cases, cult films can lead to the creation of religions, such as Dudeism.  For their avoidance of mainstream culture and audiences, enjoyment of irony, and celebration of obscure subcultures, academic Martin Roberts compares cult film fans to hipsters.
  A film can become the object of a cult following within a particular region or culture if it has unusual significance. For example, Norman Wisdom's films, friendly to Marxist interpretation, amassed a cult following in Albania, as they were among the few Western films allowed by the country's Communist rulers.  The Wizard of Oz (1939) and its star, Judy Garland, hold special significance to American and British gay culture, although it is a widely viewed and historically important film in greater American culture.  Similarly, James Dean and his brief film career have become icons of alienated youth.  Cult films can have such niche appeal that they are only popular within certain subcultures, such as Reefer Madness (1936) and Hemp for Victory (1942) among the stoner subculture.  Beach party musicals, popular among American surfers, failed to find an equivalent audience when imported to the United Kingdom.  When films target subcultures like this, they may seem unintelligible without the proper cultural capital.  Films which appeal to teenagers may offer subcultural identities that are easily recognized and differentiate various subcultural groups.  Films which appeal to stereotypical male activities, such as sports, can easily gain strong male cult followings.  Sports metaphors are often used in the marketing of cult films to males, such as emphasizing the "extreme" nature of the film, which increases the appeal to youth subcultures fond of extreme sports.
  
  Matt Hills' concept of the "cult blockbuster" involves cult followings inside larger, mainstream films.  Although these are big budget, mainstream films, they still attract cult followings. The cult fans differentiate themselves from ordinary fans in several ways: longstanding devotion to the film, distinctive interpretations, and fan works.  Hills identifies three different cult followings for The Lord of the Rings, each with their own fandom separate from the mainstream. Academic Emma Pett identifies Back to the Future (1985) as another example of a cult blockbuster.  Although the film topped the charts when it was released, it has developed a nostalgic cult following over the years.  The hammy acting by Christopher Lloyd and quotable dialogue draw a cult following, as
caption: Judy Garland and her iconic role as Dorothy Gale have become important in gay culture.
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